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3 Doors Down

Us And The Night

Grammy Award®-nominated, multiplatinum Mississippi rock band 3 Doors Down have announced their sixth full-length album, Us And The Night.

"In The Dark" shows a different side of 3 Doors Down. Fans will recognize the robust riffing, but it flaunts a sexy and striking chant that emphasizes a new groove and swagger altogether.On the new album Brad Arnold notes: "We're all excited to release our new album Us And The Night. It's truly been a labour of love and we can't wait to get these songs out to our fans around the world."

Following 2011's Time of My Life, which landed at #3 on the Billboard Top 200 and The Greatest Hits in 2012, the band continued its non-stop touring, performing for audiences across the globe. Gearing up for Us And The Night the group recorded the album at Rivergate Studios in Nashville, TN with producer Matt Wallace [Maroon 5, Train, Faith No More] over the course of 2015. It nods to the spirit of their breakout debut with seasoned songwriting and the biggest and boldest songs of their career to date.

1. The Broken2. In The Dark3. Still Alive4. Believe It5. Living In Your Hell6. Inside Of Me7. I Don't Wanna Know8. Pieces of Me9. Love Is A Lie10. Us And The Night11. Fell From The Moon

What A Way To Die

The archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path.

The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, "By 1964, I had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control. It was my epiphany moment, and I was determined to start an all-girl band."Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro (lead guitar), Marylou Ball (rhythm guitar), Suzi Quatro (bass), Diane Baker (keyboards), Nan Ball (drums) and vocal duties shared by all. Around the fall of 1965 the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there. "You're on," responded Leone, "in two weeks. Three songs!"

The Pleasure Seekers were soon a popular feature at the club, honing their skills alongside the likes of the Rationals, the Amboy Dukes and Bob Seger & the Last Heard. "In the beginning, there was a lot of skepticism," remembers Patti, "especially the first night. The boys crowded the stage, the girlfriends pulled them away with laughter, as if 'Girls playing?! Yeah, right!' It was always satisfying to see them be silenced quickly when we began playing. We grew used to seeing slack jaws open in surprise." Next they were asked by Leone to record and release a single on his Hideout label.

That March 1966 release is now regarded as the greatest "girl garage" single of the era: "Never Thought You'd Leave Me" b/w "What a Way to Die." "Dave brought lyrics, and we put the songs together quickly," remembers Patti. "We felt very legit in making this record at a small local studio. Nan was the sexy voice on 'Never Thought You'd Leave Me,' and there was lots of laughter as Marylou added the screams on 'What a Way to Die.'" Suzi Quatro remembers the recording as "very important and memorable."

The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene (keyboards) and Darline Arnone (drums), the first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford joined-up on guitar and bass (that lineup lasting through most of 1968). "It was a very versatile group," remembers Patti, "with Pami and Suzi sharing bass, and Pami and I sharing lead and rhythm guitars."

"The gender bias was my hot button," recalls Arlene, "along with confidence in our musical abilities. With women musicians dismissed as a novelty, I delighted in watching the audience go from skepticism/ridicule, to shock/cheers." For Suzi, though, this period was where she learned her craft: "I considered myself a musician, and didn't really think about gender too much." Two tracks recorded in 1967, but unissued at the time, "Elevator Express" and "Gotta Get Away," highlight the band's growing musical maturity since their Hideout debut. "Detroit was the best learning ground in the world for musicians," recalls Suzi, "with an amazing energy and creativity that is in every successful artist that has come out of the city." "We were actually one of the earliest Detroit bands traveling the country," adds Patti. "Everyone wanted this unusual all girl band who rocked an entire Motown revue (changing instruments and singers throughout) and an entire Sgt. Pepper/Magical Mystery Tour revue, as well as covering English bands, acid rock and everything in between."

Signing up with Associated Booking Corporation, the group began making the transition from local to national act. Producer Dick Corby caught the Pleasure Seekers at Trude Heller's in New York's Greenwich Village and signed them to a Mercury Records deal in early 1968. To keep rein on their finances in NYC, Patti recalls, "We booked Arthur's nightclub for a month, staying at the infamous rock Gorham Hotel, recording by day-playing by night." Also in residence were the Who, the Blues Magoos and an assortment of other bands. "Hitting NYC as young teens, it was exciting, scary, fun-all emotions churning," she continues. "We felt we had hit the big time, going from the tiny local Hideout session to the huge Mercury professional studio facility, complete with session people adding strings and other elements."

A single pairing "Good Kind of Hurt" and "Light of Love" was released in April 1968, while a third song, "Locked in Your Love," remained in the can. The group then headed out to the Northwest for a lengthy tour. "The Northwest tour was awesome," remembers Patti. "We were billed with Canned Heat, Boyce & Hart and Merilee Rush, and were held over six weeks to tour with Eric Burdon and the Animals. The Mercury single was out, momentum was surging." Both sides of the single were getting airplay, but ultimately it failed to gain any traction. "Really neither song reflected our own sound," admits Patti. "We rearranged 'Light of Love' for live performance, feeling disconnected to the record, yet realizing we had to play ball with the executives to keep us rolling."

Ultimately Mercury's vision for the Pleasure Seekers clashed rather sharply with the band's vision. "The suits wanted tits and ass," recalls Darline, "wowing Vegas crowds, playing tinkly tunes in lavish costumes." "In that male-dominated music era, we were strictly a novelty, and a high-risk endeavor," adds Patti. "The record executives felt women musicians would fall in love or get pregnant so were not worth investing the time and money. We had to kick down many doors. We were serious musicians, and in it for the right reasons. In the end, we were not happy with a forced direction that Mercury Records had in mind, and ended up leaving the label to rock our music in our own fashion."

After a memorable 1968 Far East tour, playing for wounded returning American soldiers from Vietnam, the Pleasure Seekers (with new drummer Nancy Rogers) returned to a Detroit that was now, in Patti's words, "exploding with heavier sounds. That sparked us to change direction with new ideas we had been exploring. Arlene left the band and we brought in our youngest sister Nancy (vocals). With Suzi's Joplinesque vocals combined with Nancy's wailing 'female Robert Plant' style, we enjoyed a harder edged, 'double-punch' effect."

The last four songs on the album, "White Pig Blues," "Brain Confusion," "Where Have You Gone?" and the atmospheric psychedelic mover "Mr. Power," all date from this 1968-69 period when the Pleasure Seekers were playing the Grande Ballroom alongside the MC5, Alice Cooper, the Stooges, the Amboy Dukes and SRC. With this change in musical direction and the departure of Arlene and Pami, the band forged on as Cradle. Suzi Quatro departed for England in 1971, launching a successful solo career. Patti and Nancy continued with Cradle until 1973 when Patti joined another pioneering female rock group, Fanny.

The Pleasure Seekers reunited recently in April 2012 (minus Suzi) for a well-received show in their hometown, where they were inducted into Detroit's Hall of Fame. "I think all of us Quatro girls are extremely proud of our pioneering days" reflects Patti. "In a renaissance-era of music, we kicked down doors for women to rock heavy. There were key times in our lives of making decisions that may have turned us towards larger fame, but less happiness-depending on your philosophy of such things. The Pleasure Seekers could have been a Las Vegas show act bringing in buckets of money or on Motown, turned very formulaic girlie-soul. But we stayed true to our goals, and I don't think any of us have any regrets of staying our course and playing the music that moved us. It's all been a thrilling ride with great memories."

- Mike & Anja Stax (Ugly Things magazine)

1. Intro By DJ The Lord2. Gotta Get Away3. Never Thought You'd Leave Me4. Light Of Love5. Good Kind Of Hurt6. What A Way To Die7. Elevator Express8. Locked In Your Love9. White Pig Blues10. Brain Confusion11. Where Have You Gone12. Mr. Power

The Better Life

The Better Life is 3 Doors Down's debut studio album, originall released on February 8th, 2000. It has become 6 times Platinum since release. This is the only album on which lead singer Brad Arnold played drums.

1. Kryptonite 2. Loser 3. Duck And Run 4. Not Enough 5. Be Like That 6. Life Of My Own 7. Better Life 8. Down Poison 9. By My Side 10. Smack 11. So I Need You

Live At The Cellar Door

Mastered By Chris Bellman At Bernie Grundman Mastering And Pressed At Pallas In Germany

Neil Young will release Live At The Cellar Door, the latest in his Archives Performance Series, on Reprise Records. The album collects recordings made during Young's intimate six-show solo stand at The Cellar Door in Washington D.C. between November 30th and December 2nd, 1970, a few months after Reprise released his classic third solo album After The Gold Rush in August.

The album, which features Young performing on acoustic guitar and piano, includes tracks that are interesting for several reasons, such as stunning live versions of songs that appeared on After The Gold Rush (Tell Me Why, Only Love Can Break Your Heart, Birds, Don't Let It Bring You Down and the title track) and solo performances of the Buffalo Springfield songs Expecting To Fly (from their 1967 second album Buffalo Springfield Again), I Am A Child (from their third and final album Last Time Around and Young's 1977 Decade compilation), and Flying On The Ground Is Wrong, from their 1966 self-titled debut.

In addition, Live At The Cellar Door features early, raw performances of songs that wouldn't appear until subsequent Young albums, including the rarity Bad Fog Of Loneliness (which appears on Live At Massey Hall '71 - released in 2007-but was previously unreleased until the studio band version was included on Archives Vol. 1 1963-1972), Old Man (released two years later on 1972's Harvest album), a rare solo performance of Cinnamon Girl on piano (the full band version appears on Young's 1969 second solo album Everybody Knows This Is Nowhere), and Down By The River, also from Everybody Knows This Is Nowhere.

Live At The Cellar Door was recorded by Henry Lewy and produced by Young.

1. Tell Me Why2. Only Love Can Break Your Heart3. After the Gold Rush4. Expecting To Fly5. Bad Fog of Loneliness6. Old Man7. Birds8. Don't Let It Bring You Down9. See the Sky About to Rain10. Cinnamon Girl11. I Am A Child12. Down By the River13. Flying On The Ground Is Wrong

Flying Saucer Rock N Roll

Colored Vinyl

Positively praised by Maximum Rock n Roll's Tim Yohannan upon their original release, the first three 7"s from California's garage/punk legends the Groovie Ghoulies have been compiled for the first time ever on "Flying Saucer Rock N Roll." Released to coincide with the group's 30th anniversary,this collection presents the first ten official songs the band ever released - on vinyl for the first time in over 25 years, and for the first time ever on compact disc! The tracks are newly transferred and re-mastered for digital release. In addition, the Green Door Recording Company vaults have turned up three primitive and rare studio bonus tracks, newly discovered and available for the first time ever in all three formats! They were originally dubbed and sold by the band in cassette format in the late 80's! Flying Saucer Rock N Roll captures all the early rawness and energy of the young and eager Kepi as he and his friend Eric just lay down tracks with a drum machine on a Tascam 4 track cassette recorder!!! No laws, no rules, just rock n roll! You can hear the presence of many of the bands that remained life-long influences on the band, from the obvious (Rolling Stones, Ramones) to the more sublime (Billy Bragg, Neil Diamond). These recordings are rare and historic, and mark the first of twelve planned releases which will result in a full catalog re-issue from this entertaining and enduring band. These releases will trace the evolution of Groovie Ghoulies, and this album is the first chapter in the story! A young Kepi Ghoulie, who didn't even have a full band line-up, felt so driven by the D.I.Y. punk and new wave movement, and the need to create his own brand of hi-energy rock n roll, that he recruited his friend to record his crazy vision like a rock n roll Ed Wood! And so away they went! That dream has not stopped to this day! 30 years and close to 20 full length records later, Kepi is still at it, writing, recording, and touring at a relentless and passionate pace.Thousands upon thousands of Groovie Ghoulies records have been sold over the years. Their songs have been placed in B-movies and snow and skateboard videos. The most random and unusual places: that is where you will find Kepi and his 'Ghoulie Family'. Let's relive the magic that provided part of the soundtrack to the lives of so many Southern Californians. It was a scene which grew into part of the East Bay Pop Punk sound, to Asian Man records and now on into the Burger Records generation! Hail Hail Flying Saucer Rock n Roll! Long may it rock, out into the Universe, second verse same as the first!

1. Flying Saucer Rock N Roll2. Blood Bleach3. Day In Day Out4. Lookout (Here Comes Tomorrow)5. Armageddon 20006. We Go So Good Together7. 2000 Man8. Don't Go Out Into The Rain9. Dead End10. Child of the Moon11. Kentucky Woman12. Laugh at Me13. A New England

Right Place Wrong Time (Pure Pleasure)

This recording session was not released until five years after it was done. One can imagine the tapes practically smoldering in their cases, the music is so hot. Sorry, there is nothing 'wrong' about this blues album at all. Otis Rush was a great blues expander, a man whose guitar playing was in every molecule pure blues. On his solos on this album he strips the idea of the blues down to very simple gestures (i.e., a bent string, but bent in such a subtle way that the seasoned blues listener will be surprised). As a performer he opens up the blues form with his chord progressions and use of horn sections, the latter instrumentation again added in a wonderfully spare manner, bringing to mind a master painter working certain parts of a canvas in order to bring in more light. Blues fans who get tired of the same old song structures, riff, and rhythms should be delighted with most of Rush's output, and this one is among his best. Sometimes all he does to make a song sound unlike any blues one has ever heard is just a small thing -- a chord moving up when one expects it go down, for example. The production is particularly skilled, and the fact that Capitol Records turned this session down after originally producing it can only be reasonably accepted when combined with other decisions this label has made, such as turning down the Doors because singer Jim Morrison had »no charisma«. This record doesn't mess around at all. The first track takes off like the man they fire out of a cannon at the end of a circus, a perceived climax swaggeringly representing just the beginning, after all. Some of the finest tracks are the ones that go longer than five minutes, allowing the players room to stretch. And that means more of Rush's great guitar playing, of course. For the final track he leaves the blues behind completely for a moving cover version of Rainy Night in Georgia by Tony Joe White.

Musicians:

Otis Rush (vocal, guitar)

Doug Killmer, John Kahn (bass)

Hart McNee (alto saxophone)

John Wilmeth (trumpet)

Ron Stallings (tenor saxophone)

Fred Burton (guitar)

Mark Naftalin (piano)

Ira Kamin (organ)

Bob Jones (drums)

Recording: February 1971 at Wally Heider's Studio, San Francisco

Production: Nick Gravenites and Otis Rush

About Pure Pleasure

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

Something Else

After achieving his highest-charting release with 2011's All 6's And 7's (#4 Billboard), Strange Music general Tech N9ne tackles the most ambitious album of his career with Something Else. The Kansas City emcee kept fans busy in 2012 with the release of three consecutive Top 3 rap EP releases - KLUSTERFUK, E.B.A.H., and Boiling Point.

With demand at a fever pitch, Tech N9ne aims to give listeners an untouched piece of his life while cementing his place among rap's elite.

The beats sound nothing like anything you've ever heard me on, say Tech. The features that I'm going for are something you would never imagine. All I can say about it now is that it's a very human album. What I mean by that is that it's contradictory. On one song I say, 'The saint is ours', like we're in the saint's corner and then I have another song called 'I'm Not A Saint'. It's so beautiful because the King, the Clown, and the G are still present on this album.

There are no apologies in what I'm saying. I don't mind that it contradicts itself because that's what people do. The album is everywhere. It feels like it's Hell, Purgatory and Heaven all over again. I'm telling stories that I've never told - that I was afraid to tell on some songs. It's super personal and I've got a big chip on my shoulder again. It's always been there, but it's getting bigger having to prove to fans and critics that we ain't going nowhere.

L.A. Woman: The Workshop Sessions

L.A. Woman: The Workshop Sessions features eight never-before-heard versions of songs from the Doors' 1971 album and a never-before-heard song, She Smells So Nice, which captures the band joyfully barreling through a full-throttle original before segueing into the blues standard Rock Me. As the song closes, Jim Morrison can be heard chanting, Mr. Mojo Risin, an anagram of his name that was made famous during the bridge of L.A. Woman. The track was recently discovered by producer Bruce Botnick while reviewing the L.A. Woman session tapes.

Alternate takes of The Changeling, Love Her Madly, Cars Hiss By My Window, L.A. Woman, The Wasp (Texas Radio and the Big Beat), Been Down So Long and Riders On The Storm offer a fresh view on this landmark release, which was the group's last album and sixth straight Top 10.

The studio chatter between songs is a revelation, transporting listeners to The Doors' West Hollywood rehearsal space where they recorded the album with Botnick. One segment in particular captures a fascinating moment of inspiration when Morrison suggests they add the now iconic thunderstorm sound effects to the beginning of Riders On The Storm.

This 180g 2LP edition of LA Woman: The Workshop Sessions is presented on three sides of vinyl, with the fourth side featuring a laser etching of the original Electric Woman art included with the album's original 1971 release.

LP11. The Changeling (Alternate Version)2. Love Her Madly (Alternate Version)3. Cars Hiss By My Window (Alternate Version)4. L.A. Woman (Alternate Version)5. The Wasp (Texas Radio and the Big Beat) (Alternate Version)6. Been Down So Long (Alternate Version)7. Riders On the Storm (Alternate Version)

Raising Hell

Up until Raising Hell, the rap juggernaut we know as Run-DMC was still in its building and breaking-down- doors phase. In 1986 thatchanged, and in a dramatic way. With their third long-player, the group had reached the mountaintop. It was THE record that provedhip-hop wasn't a fad.

Raising Hell marked an important and significant new era for the group. Leaving producer Larry Smith for up-and- coming sonicinnovator Rick Rubin (still co-produced by Run's brother Russell Simmons), they began to fully transition not only their own sound, butthe sound of the entire genre. Less live playing - with some exceptions - and a slicker, tighter sonic attack. Musical aesthetics aside,though, at their core they stayed true to the essence of hip-hop: two turntables and a microphone, or two.

It's impossible to talk about the album without its worldwide smash, "Walk This Way," which hit #4 on the Billboard pop charts and sawthe group digging in the rock crates to summon Aerosmith in the flesh, combining Steven Tyler's and Joe Perry's musicianship with thegroup's own take on the '70s classic. The song's video cemented Run-DMC as legit MTVidols, and both groups rode its wave to new heights.

Beyond "Walk This Way," the platter is full to the hilt with undeniable classic singles: "You Be Illin'"; "It's Tricky"; "Peter Piper" and thefashion-world shifting "My Adidas." Each song was new proof that Run-DMC's sound was indeed new, but still familiar, and full of theenergy, charisma and innovation that drew fans to their first two LPs.

Aside from the singles, the reason the album stands up so well is the fact that there is virtually no filler. "Proud To Be Black" remains apioneering and underrated cut when people talk about "conscious" hip-hop. And to make sure they never lost the streets that gave themtheir start, "Hit It Run," "Son Of Byford," "Is It Live" and "Perfection" all bring it back to the group's early days in the park.Besides the triple platinum status the album achieved, it was more than just a pop smash. It signaled a new era for rap music, and it wasthe no-turning- back point for the entire genre. This was the beginning of what we now call the Golden Era, and it still sounds as freshtoday as it did three decades ago.

1. Peter Piper2. It's Tricky3. My Adidas4. Walk This Way5. Is It Live6. Perfection7. Hit It Run8. Raising Hell9. You Be Illin'10. Dumb Girl11. Son Of Byford12. Proud To Be Black

Collectors' Items

Special Vinyl Reissue In A Series Of Special 2014 Releases Commemorating The 65th Anniversary Of Prestige Records And The 90th Birthday Of Legendary Recording Engineer Rudy Van Gelder

Originally released in 1956, Collectors' Items consists of two studio sessions recorded over roughly three years, with a menagerie of musicians taking part. Because of the amount of time between each session (1953 and 1956), fans will get an intimate peek into the artistic maturation of the esteemed artists who took part in the recordings. Sonny Rollins, Charlie Parker (who recorded under the name "Charlie Chan" to avoid contractual issues while under a rival label), Paul Chambers, Art Taylor and Tommy Flanagan were just some of the names who joined Davis in the studio. Collectors' Items opens the studio doors to listeners, allowing them to take part in a moment-Charlie Parker trying out a new King tenor sax; Miles Davis informally improvising; the band recording "Round About Midnight" at six PM, due to the studio closing down for the night. Ira Gitler's liner notes recall details like this-adding dimension and a context to the album's tracks. This is most definitely a Collectors' Item for any jazz fan.

After School Sessions-The Deluxe Edition (Awaiting Repress)

First Time Exclusive Audiophile Vinyl And Stunning First Time Gatefold Cover

Mastered From The Authorized Chess Records' Mono Tapes By Joe Reagoso

Chuck Berry is an American original. There will never be another Chuck Berry, nor anyone in the music industry who could influence generations upon generations of aspiring rock 'n rollers like Chuck has.

Celebrating six decades in the music business, this East St. Louis native initially captivated millions of kids in the fifties with his first recordings like Maybellene and Roll Over Beethoven. He drove the rockers mad with his famous guitar licks, poetic lyrics and dynamic presence on the stage.

Introduced to Chess Records by fellow blues rocker Muddy Waters, Chuck Berry hit a goldmine immediately with his arsenal of tunes that he presented to Phil and Leonard Chess. These great songs culminated into a handful of top charting singles which led to his first legendary album After School Session.

Kicking things off with one of the monumental rock and roll records of all time School Day (Ring Ring Goes The Bell), Chuck Berry roars through a bevy of 11 more home runs which made this one of the most important and emulated albums of all time. The album features classic gems like Brown Eyed Handsome Man, Too Much Monkey Business, Havana Moon and No Money Down. Noted for his stellar guitar work, pretty much introducing the turnaround riff to a whole new generation of guitar players, After School Session was truly a primer for a ton of rock and blues artists for years like Elvis Presley, The Rolling Stones, The Beach Boys, The Beatles, Johnny Winter, The Animals and The Yardbirds.

Chuck Berry was more than a rock 'n roll genius. He was a natural poet. He could rhyme. He could compose lyrically two and three minute musical stories about the everyday man and woman, about the struggles of being a teenager, about romance, about cars, about faraway places, about dancing, and most notably about rock 'n rollin.'

His unconventional approach to music was unlike that of anyone before him. He opened the doors for millions of music fans around the world to enjoy rock and blues, making him one of the first pioneers of the popular recording business that we all enjoy to this day.Friday Music is no stranger to the music of the legendary Chuck Berry and the Chess Records' arsenal of fine recordings. That is why we are so very proud to announce The Chuck Berry/Friday Music 180 Gram Audiophile Vinyl Series with his monumental first album After School Session - The Deluxe Anniversary Edition.

Mastered by Joe Reagoso (Muddy Waters, John Lee Hooker, Johnny Winter) for the first time on audiophile vinyl from the Chess monophonic tapes, Chuck Berry's After School Session now features 3 sensational bonus tracks including his first Chess singles Maybellene, You Can't Catch Me and Thirty Days (To Come Back Home).

To celebrate Chuck Berry's six decades in the music business, we further enhance this limited anniversary edition with a stunning gatefold cover featuring the original artwork elements as well as a classic inside gatefold photo of Chuck wailing on his Gibson guitar.Chuck Berry After School Session - The Deluxe Anniversary Edition 3 Bonus Tracks Impeccable mono Happy Holidays! Ring Ring Goes The Bell!!!

Christmas Party

Christmas Party is the new holiday album from She & Him, the duo comprised of Zooey Deschanel and M. Ward. Christmas Party is the follow up to their wildly popular A Very She And Him Christmas, and this new collection features guest appearances by Jenny Lewis, The Chapin Sisters and Sonic Youth's Steve Shelley.

Christmas Party is replete with holiday favorites - including classics like Darlene Love and Phil Spector's Marshmallow World, Bing Crosby's Mele Kalikimaka and Chuck Berry's Run Run Rudolph. But, Ward and Deschanel also may introduce listeners to the more obscure tracks such as folk-singer Vashti Bunyon's Coldest Night of the Year and the lesser know Sinatra track Christmas Memories. Pop favorites such as Mariah Carey's All I Want for Christmas Is You and The Chipmunks Christmas Don't Be Late round out the celebration. Throughout the album is She & Him's signature stripped down take on production.

It was the positive experience they had recording their first Christmas record, A Very She & Him Christmas, in 2011 that brought M. Ward and Zooey Deschanel back for another round of holiday cheer. Much like their first Christmas record, She & Him bring an organic and minimalistic approach to their holiday covers. Highly produced classics get stripped down to their most fundamental elements, a style perfectly aligned with their vision. You won't find any accompanying orchestra or full-piece brass bands on Christmas Party. Instead, She & Him rely on friends and family to lend a simple and authentic holiday vibe to this album, one where the guest list speaks for itself.

In the years between the two holiday records, She & Him released Vol. 3, an album of original songs, and kept their affection for covers alive with Classics, a compilation of covers of their favorite standards. Throughout these intervening years and albums, Zooey and Ward gradually culled a new collection of holiday songs to re-interpret, tucking them away like a stack of presents growing under a tree. As Christmas Party comes to a close, the listener can take solace in knowing the door on this gathering is never fully shut. The sing-alongs, the happy accidents, the quiet moments with loved ones - they're all waiting for you whenever you wish to immerse yourself in the splendor of the season. As Ward himself says, Music is one of the purest ways into Christmas.

1. All I Want for Christmas Is You 2. Let It Snow3. Must Be Santa4. Happy Holiday5. Mele Kalikimaka6. Christmas Memories7. Run Run Rudolph8. Winter Wonderland9. The Coldest Night of the Year10. A Marshmallow World11. The Man with the Bag12. Christmas Don't Be Late

Shakara

Shakara is one of a clutch of early 1970s albums - also among them this box's Fela's London Scene and Afrodisiac - on which Fela's Afrobeat transitioned from foetal stage to something approaching full-grown form. Shakara (1971) includes three of mature Afrobeat's signature ingredients. There are two guitarists, rhythm guitarist Tutu Shoronmu and tenor guitarist Segun Edo. The pair's repetitive, interlocking riffs - part melody, part rhythm - play a similar role to the rhythm and mi-solo guitars used in contemporary Congolese rumba. Fela's Broken English lyrics extend his music's audience beyond Yoruba speakers and make his words understandable across Anglophone Africa. And female backing vocalists echo Fela's lead vocals in what was to become Afrobeat's trademark call-and-response pattern. On release, Shakara's B-side, "Lady," was jumped on by the Nigerian press as Fela's contribution to a "war between the sexes." "I want tell you about lady-o," Fela sang. "She go want take cigar before anybody, she go want make you open the door for am, she go want the man wash plate for her for kitchen, she want sit down for table before anybody." By contrast: "Africa woman, she know the man na master, she go cook for him, she go do anything for him .But lady no be so, lady na master." "Lady," like 1975's "Mattress," has been interpreted by some as "anti-women." It was certainly in conflict with European feminist thought. However the lyric is interpreted, Fela was arguing from the particular in order to highlight the general: the adoption of European social habits to the detriment of African culture. Fela would address African men in similar fashion in "Gentleman" in 1973, lampooning their adoption of European suits, shoes and ties - which caused them to "smell like shit" in the African heat - before returning to the women in 1976 in "Yellow Fever," a song about the fashion for skin whitening creams. "Shakara" is a mainly instrumental track, with a brief lyric, sung in Yoruba, warning against boasters and braggarts. Up-tempo, with a suitably turbulent horn arrangement, it includes strong solos from Fela on keyboards and the fearsome Igo Chico on tenor saxophone.

The Beat Greatest

180 Gram Picture Disc Vinyl

Limited To 500

12 Of Their Original Classic Hits

Transparent PVC Cover With Sticker

This collection features 12 of The Beat's (known as The English Beat in the U.S.) greatest hits. Featuring classic hits such as 'Mirror in the Bathroom', 'Hands Off...She's Mine', 'Can't Get Used to Losing You', 'Too Nice to Talk To', 'Best Friend' and many more.

BIOGRAPHY:

The Beat was formed in Birmingham in 1979, with members Dave Wakeling (vocals, guitar), Ranking Roger (vocals, toasting), Andy Cox (guitar), Everett Morton (drums), veteran Jamaican saxophonist Saxa, and from the Isle of Wight, David Steele on bass. The band was part of the West Midlands ska revival scene that also produced The Specials and The Selecter, whilst London saw the formation of Madness and The Bodysnatchers.

The Beat's first single was an arresting version of Smokey Robinson's ''Tears Of A Clown'', given a completely new feel, and was backed with their own composition ''Ranking Full Stop''. Released in a one-off deal on Jerry Dammers' Chrysalis-backed 2-Tone label, the single stormed into the Top 10 in December 1979, and saw the band appear twice on Top Of The Pops.

Backed by Arista, the band formed their own label Go-Feet Records, with its own distinctive art direction and design provided by Hunt Emerson. The first release in February 1980 was another Top 10 hit, ''Hands Off... She's Mine'', and was the first of twelve chart singles for the band on Go-Feet, a list that includes permanent favourites like ''Mirror In The Bathroom'', ''Too Nice To Talk To'', ''Best Friend'', ''All Out To Get You'', ''Doors Of Your Heart'', ''Save It For Later'' (later covered by both The Who and Pearl Jam!), ''Jeanette'', ''I Confess'' and their Top 3 hit cover of ''Can't Get Used To Losing You''.

The band released three albums ''I Just Can't Stop It'' (1980, # 3), ''Wha'ppen?'' (1981, # 3) and ''Special Beat Service'' (1982, # 21), which contained many tracks that demonstrated their more politicised and socially-conscious leanings in songs like ''Stand Down Margaret'', ''Get-A-Job'', ''Big Shot'' and ''Click Click''. The band broke up in 1983, Dave Wakeling and Ranking Roger going on to form General Public, and Andy Cox and David Steele forming Fine Young Cannibals.

1. Mirror in the Bathroom 2. Hands Off...She's Mine3. Can't Get Used to Losing You4. Too Nice To Talk To5. Best Friend6. Twist And Crawl7. Drowning8. All Out to Get You9. Doors of Your Heart10. Save it For Later11. Jeanette12. I Confess

Echo Of Miles: Scattered Tracks Across The Path

6LP Picture Disc Box Set

Grammy-winning, multi-platinum selling and legendary rock band Soundgarden, have announced the vinyl release of their highly acclaimed rarities collection, Echo Of Miles: Scattered Tracks Across The Path. Hard on the heels of the 20th anniversary deluxe re-release of their chart-topping, five-times-platinum 1994 album, Superunknown early last year, the new vinyl package, first released as a 3-CD collection and as a 14-track single CD last November, will feature the three album thematic collection on six LPs with three separate jackets, each sporting its own unique art and housed in a slipcase wrapped in foil paper designed by Josh Graham.

The collection was curated and hand-selected by guitarist Kim Thayil. Echo Of Miles: Scattered Tracks Across The Path is the first time an official Soundgarden release has included more than 26 years of rarities that have appeared as B-sides, album bonus tracks, EPs, soundtracks, compilations and live recordings, a must for any fan of the band.

LP 1 & 2, dubbed "ORIGINALS," is filled with Soundgarden-written songs, mainly B-sides along with some soundtrack and compilation selections in addition to two unreleased songs on vinyl which go back as far as "Sub Pop Rock City," originally included as part of the 1988 compilation, Sub Pop 200. The two unreleased tracks on this disc are "Kristi," a 1996 outtake from the Down on the Upside sessions which is reportedly drummer Matt Cameron's favorite Soundgarden song, and "Storm," a brand-new track recorded in early 2014.

LP 3 & 4, "COVERS," offers a stellar showcase of songs from bands who Soundgarden love and admire, from classic rockers The Beatles, the Rolling Stones, The Doors, Black Sabbath, Jimi Hendrix and Sly and the Family Stone to punk pioneers The Stooges, the Ramones, Fear and DEVO. Showing their sense of humor, Soundgarden also cover songs by Spinal Tap and Cheech & Chong. The two unreleased tracks include the Beatles' "Everybody's Got Something to Hide " and the Sly Stone track "Thank You ", both of which were originally recorded for a BBC Radio 1 John Peel session in 1989.

LP 5 & 6, "ODDITIES," offers a wide-ranging combination of instrumentals, remixes and demos. The unreleased tracks on vinyl include "Twin Tower," penned by Matt Cameron, which was originally recorded at Seattle's London Bridge studio in December 1988 during the sessions for Louder Than Love. "Night Surf" is an instrumental performed by bassist Ben Shepherd which the band used to open their 1994 tour in conjunction with an introductory film which screened before they took the stage. Steve Fisk's new remix of "The Telephantasm (Resurrection Remix)," a song originally released for 2011 Record Store Day, has also never been available on vinyl before.

Negative Feedback Resistor

For two years now, the psychedelic Destruction Unit has been keeping the world waiting for a new album. And it's not because they've grown up or gotten soft, rather because they've been in the streets and in your backyards, pushing the freek agenda and imminentizing the alien-eschaton. They've been up and down and all around this globe, battling the greedy club owners, show promoters and control pigs to bring the new American heavy underground through your back door. Now here we are, with the psychedelic Unit's second album for Sacred Bones, Negative Feedback Resistor.

I'm Not The Devil

Cody Jinks was raised on country music but he cut his teeth on metal. "Metallica was king. They set the tone for me and I spent a good part of my youth wanting to be James Hetfield." After a dedicated stint as a frontman in a thrash metal band, Jinks willingly found himself back to where it all began. "My dad loved the outlaw country icons, Johnny Cash, Waylon Jennings and Merle Haggard. That never ending consistency of incredible music growing up laid some very deep seeds. I'm mean, come on nothing better than mentally diving into 'The Hag' and metal when it comes time for me to write songs."

Always avoiding trends and ferociously choosing his direction was the only option from day one, even though that very path could have prevented success. "What is success if you can't wake up everyday being who you really are. In the end, that will catch up with you." Jinks has been tested countless times by his career choices. The better part of the last 15 years have included numerous empty bar rooms and a never ending financial loss. "Yeah, I've been pretty good at losing money. Not the greatest feeling in the world to be gone from home for long stretches of time, only to walk in the door broke. Luckily I've got a damn good woman in my life. She has stood by me with unmeasurable strength to say the least and it is an absolute fact that I seriously overplayed my hand when landing her."

His long, dark beard and endless array of tattoos are no fad. They unquestionably define Cody Jinks. His prototypical metal/hard rock band frontman look is not a well orchestrated image, but again, define Cody Jinks. Diving into to his album, I'm Not the Devil is the perpetual truth of who he is and where he has found himself at this point in his career. "I'm just glad that I ended up where I am now," Jinks said. "It makes complete sense that I'm at this place in my life. Country music found me when I was young and chased me down as I grew older"

Jinks' latest project is his deepest, darkest and most provocative album to date, with a metal common denominator, the apocalypse, running throughout the record. "It's a pretty scary time," Jinks said. "There are some evil people running things in the world. It hits me since I have a six and three-year old."There's not a weightier song than the aptly titled "Heavy Load." It's the most apocalyptic song on the album but the dense cut, with a pretty violin break, is a gorgeous tune. The vocal hook grabs ears when Jinks croons "Train Jumps Tracks Some Time Ago/You Can't Root That Heavy Load." "That was the last song I wrote on the record," Jinks said. "I couldn't be happier how that one turned out."

"All You Can" features a pretty piano line and sobering wordplay. When Jinks belts out 'What Are You Living For," you can't help but think about the serious question posed in what is becoming an increasingly shallow existence. "I was really tired when I wrote that song," Jinks said. "We had been on the road for awhile. The bottom line is that if you're not helping people, you're not doing your job as a human being. It's time to quit feeling sorry for yourself and do something."One of Jinks' favorite songs on the album is "The Way I Am," a cover of a Merle Haggard classic. "I love that song," Jinks says. "I wrapped it up just before Merle died. The song always resonated with me. I relate to that one since there are times I would rather be out fishing."

"No Words" is a stunner of a gritty, autobiographical love song, which is a throwback to how songs used to be written. It is a tuneful gem, inspired by reality. Jinks starts out dark as night. "My Whole View of the World has Changed/ I Guess that Comes with Age/I Don't Believe there is Good in Every Man Like I Did Back Then/I May Drink More Than I Should/You've Seen Me on the Floor/I Spent my Lifetime in this Cage I Built Around Me." But the song is actually a tip of the hat to his beloved wife of 19 years. "There Aint' No Words/ To Say How Much I Need You/With You Here/ You Make This Life I Lead Worth Living." "It's about my wife," Jinks says. "But the funny thing is that she doesn't like it. She thinks it sounds too sad."

With the title track "I'm Not the Devil," Jinks wakes us all up to the realities of mistakes and the heartfelt desire to be forgiven. "We are all guilty of mistakes and very guilty of pointing out the mistakes of others. Forgiveness feels so much better or so I think."

Even though he still looks the part of the headbanger he was back in the day, he has moved on. "It's all for the best, Jinks says. "I'm where I was meant to be."

It's all about the music and the fans, who are the fuel that drives Jinks. "They come out night after night giving up hard earned money and precious time to see me play," Jinks says. " It's truly is amazing when you really think about it. The best way I can say thanks is by giving back with effort and gratitude."

1. The Same2. I'm Not the Devil3. No Guarantees4. No Words5. Give All You Can6. She's All Mine7. The Way I Am8. Chase That Song9. Heavy Load10. Grey11. Church at Gaylor Creek12. Vampires13. Hand Me Down

Skeleton Soul

Jack Sandham and Wednesday Lyle have been playing together as Cowbell since late 2009 when they got together for a late night jam session and things took off from there. Three 7" singles followed over the next 18 months and they signed to Damaged Goods in 2012. Two years on from their debut album Beat Stampede, the rockin' duo branch out into a more spooky atmospheric sound across the 11 tracks on the new album. There's a definite dark, New Orleans R&B vibe to Skeleton Soul.

Kicking off with the spaghetti western intro of the album's opening track, 'Cry Wolf' the duo cover plenty of new ground while retaining the urgency and excitement of their earlier work. Though what makes this new album so special is the evocative mood the band created with Ed Deegan at Gizzard Studio. Imagine Dr. John meets the BBC Radiophonic Workshop. The sound is still a stripped down affair, though this time round the drum 'n' guitar bones are fleshed out with a few enhancing overdubs such as the Doors-esque spiky psychedelic organ on 'She's All Over You', and some soulful saxophone on the funky, strutting 'Dirt'.

The band show they're equally adept at intimate ballads with 'Darkness In Your Heart', perhaps the best song Richard Hawley never wrote. Wednesday takes the lead vocal on 'Heart On The Line' a track which recalls the cream of '60s girl singers such as Sandie, Dusty et al. Fans of the group's earlier sound will not be disappointed either, there's still the bone-shaking garage blues numbers such as 'Oh Yolande' and 'Baby It's Your Love' along with the swampy mambo-blues groove of 'The Fear'. Imagine a band with the guitar twang of The Cramps over jungle-tribal drums, covering The Zombies and you're somewhere close.

The Big To-Do

ATO Records is pleased to commence its relationship with the The Drive-By Truckers beginning with the incomparable rock band's label debut, The Big To-Do. The album is the band's 10th in their thirteen-year career and it features 13 new DBT tracks produced by their long time collaborator, David Barbe (Sugar, Bettye LaVette). Patterson Hood and Mike Cooley continue to handle chief songwriting duties here while bassist Shonna Tucker also contributes two originals. Brad Morgan (drums), John Neff (guitar/pedal steel), and Jay Gonzalez (keyboards) round out the current lineup.

The Big To-Do was recorded in three concentrated sessions during the first part of 2009: ten days in January, five days in March, ten days in May. That added up to 25 songs, a dozen of which sequenced into The Big To-Do. We had it mixed, mastered, and completely done, and Cooley wrote the best song that just needed to be on it, Patterson says with his raspy chuckle. This happens a lot with the Truckers, and it's always a good sign. So we went back in and recorded, mixed, and mastered 'Birthday Boy' pretty much in one fell swoop. Thirteen songs, then.The balance of the remaining tracks, plus five more they've cut in the interim, will make up the Truckers' next album, which Patterson projects as a quieter affair.This is, in large part, possible because the Truckers have such a long-standing relationship with David Barbe (ex-Sugar, etc.) and the Athens, GA, studio he calls Chase Park Transduction, which long ago Patterson helped to build so as to earn the right to record there.

It's gotten to where, that day of set-up time to get sounds and levels and all of that takes us about two hours, Patterson says. We can pretty much walk in the door, and we know exactly where to put everything to get that sound, so that's just one less thing to have to think about. I wanted to eliminate the distractions. That clarity of purpose translates into a delicious assortment of Trucker songs themed loosely around crime and (self-) punishment. The Wig He Made Her Wear, Patterson says, is both a true story (as seen on Court TV) and the closest he's come to making the movie he started out to make a decade or more back. The Fourth Night of My Drinking will speak for itself, and This Fucking Job (paired thematically with Cooley's wry Get Downtown) is arguably the most political song the Truckers have made since Living Bubba. Which leaves the deceptive, airy simplicity of Shonna Tucker's You Got Another and (It's Gonna Be) I Told You So to reckon with. We always knew she had that in her, Patterson says, delighted with the emergence of another strong songwriter in the band. It was never a secret. She was writing songs all along. But watching it come out has been a really amazing thing to behold.

Off the road, incidentally, didn't mean out of work. First off, there was the matter of cutting an instrumental album with the legendary Booker T, having previously served as the backing band to the equally legendary soul singer, Bettye Lavette. Potato Hole turned out all right, got a Grammy nod, and Neil Young added his touches separately even though it's pretty much a Truckers effort. But it's what they learned making Potato Hole that counts most. I think doing the Booker album really, really paid off a lot on the musical end of this record, even though stylistically it might not sound anything like that record, says Patterson, and then tells the story.

We made that record in four days, and that included the first day when it was, 'Booker, it's wonderful to meet you!' Maybe the third song we tracked just wasn't going the way he wanted it to go. We weren't quite understanding what he wanted. We were playing it right, but it wasn't right. All the sudden he just stopped the session. He gathered us around, and he told us a story about a Thanksgiving dinner, and the way it smelt in the house, he'd been on the road a long time, and they were all in - cousins and aunts he hadn't seen in several years. He said, 'It's just a day where nothing happens, but it's all really good.'

And we sat down and we played it, and we nailed it. It was like a revelation. We're a lyric-driven band, and our songs generally paint scenes and tell stories based on scenes. He instinctively knew that was how we operated. And I think it taught us a lot about how we operated. Going in and making this record, I could tell a real difference in the way the songs hold up musically. We put a little more care into that side of it than I think we ever did before because of what we learned from him.

...an absorbing hunk of smart, crunchy, guitar-driven music shot through with the bands vivid narratives, balanced storytelling, barroom punch, and Southern accents. Its a set that portrays desperate people trying to survive in these ever more desperate times, with the Truckers joyous pride and spirited attitude warding off any bitter aftertaste. Several songs are sad, and at times depressing, but the moods always point up. As it is for Bruce Springsteen, this blue-collar band not only believes in but preaches rock as salvation, and their iron-clad conviction suggests they wont have it any other way. --Bob Gendron, TONE Audio, Issue 27

1. Daddy Learned to Fly2. The Fourth Night of My Drinking3. Birthday Boy4. Drag the Lake Charlie5. The Wig He Made Her Wear6. You Got Another7. This Fucking Job8. Get Downtown9. After the Scene Dies10. (It's Gonna Be) I Told You So11. Santa Fe12. The Flying Wallendas13. Eyes Like Glue14. Girls Who Smoke (vinyl only bonus track)

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